DOCSLIB.ORG

DOCUMENT RESUME ED 075 849 CS 200 507 TITLE [Poetry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DOCUMENT RESUME ED 075 849 CS 200 507 TITLE [Poetry DOCUMENT RESUME ED 075 849 24 CS 200 507 TITLE [Poetry: Literature Curriculum, Grades Fivo and Six; Teacher's Guide.] INSTITUTION Oregon Univ., Eugene. Oregon Elementary English Project. SPONS AGENCY Office of Education (DHEW), Washington, D.C. Bureau of Research. BUREAU NO BR-8-0143 PUB DATE 71 CONTRACT OEC-0-8-080143-3701 e NOTE 268p. EDRS PRICE MF-$0.65 HC-$9.87 DESCRIPTORS Curriculum Guides; Diction; Elementary Education; t Figurative Language; *Grade 5; *Grade 6; Imagery; Irony; *Literary Analysi; Literary Styles; *Literatur3; Metaphors; *Poetry; Symbols (Literary); Versification IDENTIFIERS *Oregon 5%ementary English Project ABSTRACT This curriculum guide is intended to introduce fifth and sixth grade children to the study of poetry. Separate units include discussion of, suggested activities for, and questions about (1) metrics and scansion;(2) rhyme scheme and stanza;(3) diction, denotation and connotation, and onomatopoeia; (4) rhyme (end rhyme, masculine and feminine rhyme, internal rhyme, off- rhyme) ; (5) hyperbole; (6) symbolism;(7) point of view;(8) idea patterns; (9) metaphor I;(10) metaphor II, extended metaphor, arld review; (11) speakers in poems; (12)simile;(13) allusion;(14) imagery; (15) dramatic situation; and(16) the whole poem. (See related documents CS 200 500-506, and CS 200 508.) (DI) 9 9 a FILMED FROM BEST AVAILABLE COPY ... U S DEPARTMENT OF HEALTH EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCE() EXACTLY AS RECEIVED FROM The Whole Poem THE PERSON OR ORGANIZATION OM Literature V-VI Teacher INATINC IT POINTS OF VIEW OR OPIN IONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDU CYN CATION POSITION OR POLICY .-- CO t-r% lam.. CZ) CM In the lessons preceding this one, your class has concentratedon LAJ various poetic techniques, isolating themmore or less from the total fabric of the poem for the purposes of examination and identification. Sucha process is necessary, but it is a rather sterile exercise if it stops there. For the goal of all this investigation has been not the ability to identify poetic devices, but to enjoy more fully the experience of readinga poem. To achieve this goal, it is necessary to "put back" all the isolated elements into the whole poem. To borrow a useful distinction made by the poet:-critic John Ciardi, we want our students to be able to answer not only the question, "What does this poem mean?" but also the question, "How does thispoem mean?" Answering the first question only leads to bad paraphrase and moral- abstracting. Answering the first question in terms of the second,on the other hand, leads to close and intelligent reading, to appreciation of the internal dynamics of the poem, and consequently toa far more sensitive perception of the poem's 'meaning. " For in poetry the way something is said is part of what is being said. In discussing the poems in this chapter with your students, you will want to make several very important points, which have been moreor less implicit throughout the previous lessons. The first is that not all the poetic devices studied operate in all poems. In other words, to criticizea poem for, say, a lack of delicate imagery is futile, if the poem is trying to do something else. The key to the interpretation ofone poem may not work at all for the next: the force of the first may reside in a powerful metaphor, while the force of the second may reside in its suggestive implications. It follows from this that in reading the whole poem it is important to pay attention to its intent. A futility comparable to the one mentioned above would be to criticize a limerick, say, for lacking high seriousnessor a significant theme. A third point you will want to make is that there isno poetic device to be found in a good poem that cannot also be found in a badone, just as there is no poetic device that cannot also be found inour everyday speech. Technique alone does not make a good poem, any more than the most pro- found truth put into verse makes a goodpoem. The happy union of form and t content, in terms of the poem's performance of its intentions, makes a q good poem. o Another idea you may wish to bring in is what is called in critical jargon oil the "affective fallacy. " This is just a fancy term for the undiscriminating v) subjective response: "I like it so it must be good." If this series of lessons C) has had any effect, it should have encouraged the beginnings of objectivity in your students' response. As we said in our introduction to this curriculum, one of the characteristics that distinguishes man from beast Oregon Elementa'ry English Project Univ. of Oregon Eugene, Oregon 1971 The Whole Poem -2- Literature V-VI Teacher is his ability to intellectualize, to objectify.Just as the happy union of form and content produces the good poem, so does the happy union of the emotion- al and intellectual response produce the good reader.If your students can begin to say, "Yes, I see what this poem is trying to do, but it doesn't grab me, " or "I like this poem because ..., " you can consider that you have achieved some success. With the poems that follow, we have provided the usual brief analysis, but feel it hardly necessary to add suggested questions or activities. The questions are always the same at this stage: Here is a poem; what is it trying to do? How is it trying to do it? How well has it succeeded in its performance? Or, if you prefer to reduce everything to a single question, just ask, "What's going on here?" The answers you get in an intelligently guided discussion will be a rough but fairly reliable index of the success of the program. The Whole Poem Literature V-VI Teacher THE WHOLE POEM - -1 Purpose: To appreciate a poem as the sum and significance of all its components. Selection:----- "The Eagle, " by Alfred, Lord Tennyson (s?,epage 3). Analysis : This poem can serve as well as any to illustrate the point (if it still needs illustration) that poetry need not necessarily moralize, or carry a message, or have any 'practical" purpose.It is sufficient if a poem communicates a vivid impression, or enables us imaginatively to participate in the poet's perceptions. This simple poem of Tennyson's satisfies the requirements we have suggested for a good poem:it is completely successful in accomplishing its intention. America's adoption of the eagle as a national symbol is not an original inspiration. For ages it has symbolized majesty, power, pride, and the composure of confident power. Tennyson portrays the bird in a way that helps us understand why it has always had this symbolic appeal. How does he achieve this? Primarily by taking us to the eagle's world, and describing that world with concentration and intensity. To get your students to see how well this poem performs itself, probably a line-by-line analysis would be best. The first line personifies the eagle ("crooked hands"). Your students may remember having studied the metaphors in this poem in the chapter on metaphor; if so, they will have somethirg to build on this second time around. As an example of diction, ask them to notice "crag, " a more romantic and impressive word in its connotations than, say, "cliff" or "rock. " If some of them claim that the alliteration on the hard "c" sounds in the line intensifies its meaning, good for them. The second line suggests the remoteness of the eagles's world, not only in the phrase 'lonely lands, " but also in the quietly suggestive hyperbole of "close to the sun. " This idea is reinforced in the third line in which the eagle's "world" is the sky, in which there is only himselfg the sun, and the "azure world. " And here, in this world, "he stands, ' powerful, remote, dominant. The second stanza provides balance and a new direction, illustrating the principle of idea patterns. This is most apparent is the final two words, "he falls, " which contrabt with "he stands" in thesame position in stanza one. With this shift in action, we also get a shift in direction. The first stanza has placed the eagle in his world; the second describes his relation to ours--the surface of the planet. The first line directs our attention downward to the "wrinkled " sea, a particularly vivid image.If any of your students have ever observed the ocean from a high cliff, or an airplane, they will reconize the precision of the visual image. And the The Whole Poem -2- Literature V-VI Teacher sea "crawls" beneath the eagle. The sea, generally a symbol of surging power, here crawls impotently below the majesty of the bird: he dominates our world as well as his own. ! In the second line, the motintaiti "walls" is practically.a -dead metaphor, but the original force of the metaphor compares the cliffs of a mountain to the walls of a castle. The poem comes to a satisfactory conclusion by describing the eagle' s relation to earth: a simile likening him to a bolt of lightning. You will surely not want to go into this much detail with your class, but some such process of laying it all out and then putting it all back into the poem will help them see how the devices Tennyson uses function together to provide us, not with a moral, but with an intense experience. "What's going on here?" A great deal.
Load more

Recommended publications
  • Title Index • 223
    THE HORN BOOK GUIDE July–December 2015 Title Index • 223 Title Index A from Miss Keller, 44 Another Kind of Hurricane, 94 Bear’s Surprise, 25 Blue-Ringed Octopuses, 158 Aaron and Alexander, 203 Ants, 157 Bear’s Year, 8 Boats Float!, 12 Aaron Loves Apples and Pumpkins, Apache, 205 Beast of Cretacea, 129 Bob and Flo, 5 55 Apatosaurus, 151 Beastly Babies, 34 Bobby Bear, 62 Aaron Rodgers, 183 Apocalypse Meow Meow, 90 Beastly Bones, 125 Body Manners, 174 ABC School’s for Me!, 11 Appleblossom the Possum, 94 Beastly Verse, 188 Bombing of Hiroshima and About a Girl, 119 Aqua Sports, 183 Beatrix Potter and Her Paint Box, Nagasaki, 199 About Habitats, 156 Archie the Daredevil Penguin, 45 177 Bone Gap, 126 Abracadabra, 180 Arctic Tundra Food Chain, 156 Because You’ll Never Meet Me, 130 Bonobos, 164 Abukacha’s Shoes, 49 Are Crop Circles Real?, 135 Because Your Grandparents Love Boo!, 15 AC Milan, 185 Are We There, Yeti?, 20 You, 7 Book, 133 Accidental After Life of Thomas Are You Seeing Me?, 111 Becoming Darkness, 102 Book Itch, 193 Marsden, 96 Are You Still There, 126 Becoming Maria, 193 Book of Beasts, 71 Ace Dragon Ltd., 34 Around the Moon 1, 2, 3, 171 Been There, Done That, 188 Book Scavenger, 72 Achoo!, 23 Around the World, 197 Beep! Beep! Go to Sleep!, 17 Boom Snot Twitty, 7 Adam & Thomas, 70 Art-Rageous, 68 Behind the Lines, 199 Borrowed Time, 94 Adeline Porcupine, 62 Ask Me, 51 Believarexic, 114 Bottlenose Dolphins, 164 Adrift, 111 Astounding Broccoli Boy, 73 Believe It or Not, My Brother Has a Bowhunting, 182 Adventures of Miss Petitfour,
    [Show full text]
  • Celebration by the Colored People's Educational Monument Association in Memory of Abraham Lincoln, on the Fourth of July, 18
    Celebration by the Colored people's educational monument association in memory of Abraham Lincoln, on the Fourth of July, 1865, in the presidential grounds, Washington, D.C. ... CELEBRATION BY THE COLORED PEOPLE'S Educational Monument Association IN MEMORY OF ABRAHAM LINCOLN, ON THE FOURTH OF JULY, 1865, IN THE PRESIDENTIAL GROUNDS, WASHINGTON, D. C. PRINTED BY ORDER OF THE BOARD OF DIRECTORS. L. A. BELL, Recording Secretary. WASHINGTON, D. C.: McGILL & WITHEROW, PRINTERS AND STEREOTYPERS. 1865. CELEBRATION BY THE COLORED PEOPLE'S Educational Monument Association IN MEMORY OF ABRAHAM LINCOLN, ON THE FOURTH OF JULY, 1865, IN THE PRESIDENTIAL GROUNDS, WASHINGTON, D. C. PRINTED BY ORDER OF THE BOARD OF DIRECTORS. L. A. BELL, Recording Secretary. WASHINGTON, D. C.: McGILL & WITHEROW, PRINTERS AND STEREOTYPERS. 1865. THE FOURTH OF JULY, 1865. The Fourth of July, 1865, was indeed a memorable day, being the first time that the colored people have attempted any celebration of a national character. The celebration was gotten up under the auspices of the Colored People's National Lincoln Monument Association, whose efforts have, in this respect, been crowned with the full measure of success. Thousands were present on the grounds throughout the entire day. The Washington City Sabbath School Union were present in great numbers, with many banners, flags, mottoes, and devices, forming one of the chief features of the celebration. Many distinguished persons were present; including senators, representatives, members of the judiciary, officers of the Government and officers of the army and navy. Promptly at Celebration by the Colored people's educational monument association in memory of Abraham Lincoln, on the Fourth of July, 1865, in the presidential grounds, Washington, D.C.
    [Show full text]
  • Through a Glass Darkly,” Evental Aesthetics 1, No
    Vol. 1, No. 2 (2012) The Missed Wisniowska, Magdalena. “Becoming Spirit: Morality in Hegel’s Phenomenology and Bergman’s Through a Glass Darkly,” Evental Aesthetics 1, no. 2 (2012): 56-80. ABSTRACT The following essay brings together philosophy and film. On the one hand, it is a short study of Hegel’s chapter on morality in the Phenomenology of Spirit. On the other hand, it deals with some of the moral conflicts presented in Ingmar Bergman’s 1961 film, Through a Glass Darkly. Central to my discussion is the concept of God. I aim to show how God, manifest in absolute Spirit, should not be understood as a transcendental figure located in a beyond, but as a concrete entity found within the acts of forgiveness and reconciliation. KEYWORDS Hegel, Bergman, morality, conscience, recognition p. 56 Becoming Spirit: Morality in Hegel’s Phenomenology and Bergman’s Through a Glass Darkly Magdalena Wisniowska n the Phenomenology of Spirit, Hegel reveals Spirit’s true nature in Chapter VI. C., “Spirit that is certain of itself. Morality.” Here, he I describes how God manifests in the moment of reciprocal recognition that characterises the acts of forgiveness and reconciliation. As Hegel writes, The reconciling Yea, in which the two ‘I’s let go their antithetical existence, is the existence of the ‘I’ which has expanded into a duality, and therein remains identical with itself, and, in its complete externalisation and opposite, possesses the certainty of itself: it is God manifested in the midst of those who know themselves as pure knowledge.1 With this, morality becomes religion.
    [Show full text]
  • Metrical Feet Iamb (Iambic) Betray Anapest
    Meter & Form Metrical Feet Iamb (iambic) betray Anapest (anapestic) intercede Trochee (trochaic) stupor Dactyl (dactylic) secondly Spondee (spondaic) stop light Pyrrhic a night / for the / ghosts Some Other Metrical Concerns caesuras end-stopped vs. enjambed lines rhyme ************************************ “It is not meters, but a meter-making argument that makes a poem.” Emerson “[Meter] can’t be merely a careless dash off, with no grip and no real hold to the words and sense.” Pound ************************************ According to Paul Fussell in Poetic Meter & Poetic Form, there are three principles of expression that metric variations convey: 1 A succession of stressed syllables without the expected intervening unstressed syllables can reinforce effects of slowness, weight, or difficulty; 2 A succession of unstressed syllables without the expected intervening stressed syllables can reinforce effects of rapidity, lightness, or ease; 3 An unanticipated reversal in rhythm implies a sudden movement, often of discovery or illumination; or a new direction of thought, a new tone of voice, or a change or intensification of poetic address. 1 Meter & Form Some Examples Listen! / you hear / the gra / ting roar / Of peb / bles which / the waves / draw back, / and fling, / At their / return, / up the / high strand, / Begin, / and cease, / and then / again / begin / . (Arnold, “Dover Beach”) . through many a dark and dreary Vale They pass’d, and many a Region dolorous, O’er many a Frozen, many a Fiery Alp, Rocks, Caves, Lakes, Fens, Bogs, Dens, and shades of death. (PL) Drove them before him Thunder-struck, pursu’d With terrors and with furies to the bounds And Crystal wall of Heav’n, which op’ning wide, Roll’d inward, and a spacious Gap disclos’d Into the wasteful Deep; the monstrous sight Strook them with hoor backward, but far worse Urg’d them behind; headlong themselves they threw Down from the verge of Heav’n, Eternal wrath Burnt after them to the bottomless pit.
    [Show full text]
  • Miscellanea the Long Um and Biceps of the Greek
    MISCELLANEA THE LONG UM AND BICEPS OF THE GREEK HEXAMETER Recent articles by Irigoin 1) and Devine & Stephens 2) have demonstrated that the statement of Dionysius of Halicarnassus that the monosyllabic biceps of the Greek hexameter is 'longer' 3) than the longum is basically true 4). Irigoin concluded that the phonetic structure of the longunz was different from that of the biceps. Devine & Stephens deny this, and attribute the greater length of the biceps to the effect of the metrical structure of the hexameter on the Greek language. There is, of course, a basic difference between the longum and the biceps : the former cannot be resolved, the latter can. Devine & Stephens are right, however, to suggest that the structure of the hexameter is usually responsible for a shorter longum. This becomes very clear when we consider such factors as lengthening in arsis, hiatus in arsis, short final vowel lengthened in arsis before mute and liquid, and so on. These features are mentioned by West 5) as evi- dence that the thesis (biceps) is longer than the arsis (longum). If the arsis were as long as the thesis, according to West, there would be no reason why such factors should not occur as readily in thesis; they are tolerated in arsis because the arsis is shorter. This state- ment, however, overlooks a fundamental factor in the structure of the Greek hexameter: the restrictions on word-end in thesis. The factors mentioned by West generally involve word-end, the length- ened syllable usually being final. The possibility of 'lengthening in thesis' obviously presupposes a monosyllabic thesis; but word-end after a monosyllabic biceps is greatly restricted in the hexameter 6).
    [Show full text]
  • The Elements of Poet :Y
    CHAPTER 3 The Elements of Poet :y A Poetry Review Types of Poems 1, Lyric: subjective, reflective poetry with regular rhyme scheme and meter which reveals the poet’s thoughts and feelings to create a single, unique impres- sion. Matthew Arnold, "Dover Beach" William Blake, "The Lamb," "The Tiger" Emily Dickinson, "Because I Could Not Stop for Death" Langston Hughes, "Dream Deferred" Andrew Marvell, "To His Coy Mistress" Walt Whitman, "Out of the Cradle Endlessly Rocking" 2. Narrative: nondramatic, objective verse with regular rhyme scheme and meter which relates a story or narrative. Samuel Taylor Coleridge, "Kubla Khan" T. S. Eliot, "Journey of the Magi" Gerard Manley Hopkins, "The Wreck of the Deutschland" Alfred, Lord Tennyson, "Ulysses" 3. Sonnet: a rigid 14-line verse form, with variable structure and rhyme scheme according to type: a. Shakespearean (English)--three quatrains and concluding couplet in iambic pentameter, rhyming abab cdcd efe___~f gg or abba cddc effe gg. The Spenserian sonnet is a specialized form with linking rhyme abab bcbc cdcd ee. R-~bert Lowell, "Salem" William Shakespeare, "Shall I Compare Thee?" b. Italian (Petrarchan)--an octave and sestet, between which a break in thought occurs. The traditional rhyme scheme is abba abba cde cde (or, in the sestet, any variation of c, d, e). Elizabeth Barrett Browning, "How Do I Love Thee?" John Milton, "On His Blindness" John Donne, "Death, Be Not Proud" 4. Ode: elaborate lyric verse which deals seriously with a dignified theme. John Keats, "Ode on a Grecian Urn" Percy Bysshe Shelley, "Ode to the West Wind" William Wordsworth, "Ode: Intimations of Immortality" Blank Verse: unrhymed lines of iambic pentameter.
    [Show full text]
  • The Destruction of Sennacherib
    Get hundreds more LitCharts at www.litcharts.com The Destruction of Sennacherib the sleeping army. The Angel breathed in the faces of the POEM TEXT Assyrians. They died as they slept, and the next morning their eyes looked cold and dead. Their hearts beat once in resistance 1 The Assyrian came down like the wolf on the fold, to the Angel of Death, then stopped forever. 2 And his cohorts were gleaming in purple and gold; One horse lay on the ground with wide nostrils—wide not 3 And the sheen of their spears was like stars on the sea, because he was breathing fiercely and proudly like he normally did, but because he was dead. Foam from his dying breaths had 4 When the blue wave rolls nightly on deep Galilee. gathered on the ground. It was as cold as the foam on ocean waves. 5 Like the leaves of the forest when Summer is green, 6 That host with their banners at sunset were seen: The horse's rider lay nearby, in a contorted pose and with 7 Like the leaves of the forest when Autumn hath blown, deathly pale skin. Morning dew had gathered on his forehead, and his armor had already started to rust. No noise came from 8 That host on the morrow lay withered and strown. the armies' tents. There was no one to hold their banners or lift their spears or blow their trumpets. 9 For the Angel of Death spread his wings on the blast, 10 And breathed in the face of the foe as he passed; In the Assyrian capital of Ashur, the wives of the dead Assyrian soldiers wept loudly for their husbands.
    [Show full text]
  • TI Journals Template
    University College of Takestan Available online at http://UCTjournals.com Iranian Journal of Social Sciences and Humanities Research UCT . J. Soc. Scien. Human. Resear.(UJSSHR) Volume 3,Issue2 185-198 (2015) ISSN:2382-9753 X Armenian Myths and Legends and their Impact on Armenian Beliefs and Literature Giti Faraji*1 and Ali Mohammad Poshtdar2 1PhD Student in Comparative Literature, Academy of Sciences of Armenia, Yerevan, Armenia. 2Department of Persian Language and Literature, Payame Noor University (PNU). ABSTRACT Original Article: Remnants and light sediments and reflections of the beliefs of Animistic and Totemistic ideological systems that have been dominant among clans and tribes residing in Armenian lands during very distant periods, that is Palaeolithic periods are still recognizable in some life habits and behaviours, Received 20 Mar. 2015 social norms, popular beliefs, various folkloric fields, tales, mythological narratives, customs and Accepted 22 June. 2015 traditions, folk songs, and proverbs of contemporary Armenian people. Published 30 July. 2015 This paper through studying beliefs and legends of Armenian people tries to prove their relationship with folkloric literature. Keywords: Legends, Old Beliefs, Armenian Nation, Folk Literature, Myth phenomena and inanimate objects like stone, wood, etc. Introduction and the secret relations between animals and their Ancient Armenian beliefs, religion, worships, and temples, a incarnation associations with each other, which all for very complex and incompatible system in various stages of their part impacted the beliefs of humans of those progress and development, are historical fruit of the periods through a series of magical actions. Beliefs formation of Armenian nation. This period, as a period of regarding mountains, boulders, trees, waters, fire, sky, spreading worshiping fire and fire temples all over and luminous objects (stars, meteors, planets), Armenian territory, lasted approximately 600 years and visualizations and imaginations about weather events, continued up until fifth century AD.
    [Show full text]
  • Confronted Patriarchy in Sylvia Plath's Poems
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TEFLIN (Teaching English as a Foreign Language in Indonesia) Journal (State University... CONFRONTED PATRIARCHY IN SYLVIA PLATH'S POEMS Kukuh Prayitno Subagyo Universitas Negeri Malang, Indonesia Abstract: The American literary canons, mainly those of the nineteen fifties and the nineteen sixties, had consistently portrayed women as subservient citizens. Women in the American culture had been put under men s domina- tion and thus lost their identity and been unable to determine their own fate. They played roles long prescribed by men, both in the home and in their so- cial milieu. As products of the era, a number of Sylvia Plath s poems depict confrontation against this phenomenon of patriarchy in which women have been inferior to and abused by men; they fight for freedom and to regain their true roles as women and human beings. Key words: the American literary canons, patriarchy, Sylvia Plath s poems The American nineteen fifties and sixties have witnessed the advent of literary works portraying women s struggle for liberation, the so-called Women s Movement, whose members turned out to be assertive activists struggling for the sake of their fellow woman citizens. The Women s Movement for libera- tion gained its momentum during these decades, and continued to color the lit- erary works of all genres even in the ensuing years. In fact, such woman- related themes as feminism, women studies, and women s emancipation have dominated not only the American literary genres but those of the world as well beyond the turn of the second millennium.
    [Show full text]
  • The Kilmichael Glassary Bell-Shrine | 201
    Proc Soc Antiq Scot 142 (2012), 201–244 THE KILMICHAEL GLASSARY BELL-SHRINE | 201 The Kilmichael Glassary Bell-shrine David H Caldwell*, Susy Kirk†, Gilbert Márkus‡, Jim Tate§ and Sharon Webb ǁ ABSTRACT The Kilmichael Glassary Bell-shrine is one of the treasures of National Museums Scotland. This paper reassesses the circumstances of its discovery, its context and importance, and its role as a relic of a saint, not Moluag, as previously suggested, but possibly Columba. The wider use of handbells in the early medieval church is also considered. The bell-shrine was found in 1814, on the farm of Torbhlaren, in the parish of Kilmichael Glassary, in mainland Argyll, probably near to where it was venerated. The bell inside it dates to the 7th–9th century, the shrine to the first half of the 12th century. The latter bears evidence in its design of a mixed artistic heritage, including local, Irish and Scandinavian influence. Alternative hypotheses, that it represents the artistic output of the Kingdom of the Isles or Dunkeld, in the kingdom of the Scots, are presented. Details are provided of a technological examination of bell and shrine and a list of other early Scottish handbells is included. INTRODUCTION DISCOVERY AND PROVENANCE The Kilmichael Glassary Bell-shrine [KGBS] is S Webb a medieval reliquary in the form of a small copper alloy box which contains an iron handbell (illus The circumstances surrounding the place 1). Associated with them is a copper alloy chain where bell, shrine, cross and chain were and cross. This group of artefacts was found in found in the early 1800s are confusing and 1814, on the land of John MacNeill of Oakfield, there are conflicting opinions as to who made in the parish of Kilmichael Glassary in Argyll, this extraordinary discovery.
    [Show full text]
  • To View Book Inventory
    BOOK INVENTORY alphabetical by TITLE Title Last Name 1 2 3 Geddes 1 to 100 Counting Book Rosenberg 101 Holiday Jokes Magruder 101 Things You Need to Know Scholastic 44 Stories Kids Can Read by Following Pictures Rebus Treasury A Ballad of the Civil War Stolz A Cache of Jewels Heller A Candy Apple Book: Drama Queen Bergen A Cheese-Colored Camper Stilton A Children's Almanac of Words at Play Espy A Christmas Blessing VanLiere A Christmas Carol Dickens A is for Apple Tiger A Jigsaw Jones Mystery: The Case of the Stolen Baseball Cards Preller A Little Childs First Bible Lane A Picture of Freedom: The Diary of Clotee, a Slave Girl McKissack A Pop-up Book: Planes Scholastic A Rainbow of Friends Hallinan A Rotten Apple Book: Drop-Dead Gorgeou Lenhard A Series of Unfortuante Events: The Bad Beginning Snicket A Series of Unfortuante Events: The Bad Beginning Snicket A Smart Girl's Guide to Boys American Girl A Smart Girl's Guide to Friendship Trouble American Girl A Story: An African Tale Haley A Storytellers Story Martin A Taste of Chicken Soup for the Mother's Soul A Time of Angels Hesse A to Z a Picture Dictionary Landoll's A to Z Mysteries: Sleepy Hallow Sleepover Roy A to Z Mysteries: The Runaway Racehorse Roy A toZ Mysteries: White House White-Out Roy A Wish for Whisper Brown A World of Opposites Modern Publishing ABC is for Christmas Walson Abracadabra! Zap! Science Fair Surprise! Lerangis Absolutely Normal Chaos Creech Addie and the King of Hearts Rockwell Adventures of Tom Thumb Troll Aesop's Fables McGovern Agatha, Girl of Mystery: The
    [Show full text]
  • Definitions & Identify 1. Which of the Following Is A
    Check for Understanding: Definitions & Identify 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. 1 long syllable followed by another long syllable d. 1 long syllable followed by a short syllable 2. Which of these words is an iamb? a. Employ b. Coffee c. Drinking d. Eat 3. Which of these words is not an iamb? a. Unfit b. Unwell c. Behold d. Freedom 4. What is the definition of a metrical foot? a. A syllable b. A group of 5 or more syllables c. A rhyme scheme in a poem d. A group of 2-3 syllables that form a rhythmic unit 5. All of these are types of metrical feet except – a. Iamb b. Trochee c. Spondee d. Taradactyl e. Dactyl 6. True or False: A metrical foot can only be one word. a. True b. False 7. True or False: An iamb must be more than one word. a. True b. False 8. True or False: Poems that rhyme have meter. a. True b. False 9. True or False: Poems that do not rhyme have meter. a. True b. False 10. True or False: A poem’s meter cannot change throughout a poem. a. True b. False Answer KEY 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c.
    [Show full text]